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WORK & PLAY

 

2022 Literature/Film Association Conference   

New Orleans, Louisiana, USA  

October 20 to October 22, 2022  

Keynote: Vicki Mayer, Tulane University  

 

We are excited to return to in-person conferencing this fall with an examination of work and play, broadly conceived. Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play:  

 

  • the work behind adapting into a different medium  
  • labor and cultural production  
  • authorship and adaptation  
  • the workplace as cultural intersection/metaphor in literature, film, and media  
  • production studies and below-the-line labor  
  • play in cultural production  
  • teaching adaptation and adapting teaching  
  • labor, social change, and adaptation  
  • adaptation as textual play  
  • gameplay as adaptation  
  • games as adaptations or adapting games  
  • play in analyzing and interpreting text  
  • plays as adaptations or adapting plays into a different medium  
  • performance as adaptation  

 

We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.  

Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass Media; Below the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy.  

Please submit your proposal via this Google Form by July 1, 2022. You will receive a confirmation email within 48 hours. If you have any questions or concerns, contact Pete Kunze atlitfilmconference@gmail.com. Accepted presenters will be notified by August 1, and the conference program will be available by August 15 to enable travel planning. We also anticipate a professionalization pre-conference event.

The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. The conference registration fee is $200 ($150 for students and retirees) before October 1, 2022 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction.  

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here.  

 

WORK & PLAY

 

2022 Literature/Film Association Conference   

New Orleans, Louisiana, USA  

October 20 to October 22, 2022  

Keynote: Vicki Mayer, Tulane University  

 

We are excited to return to in-person conferencing this fall with an examination of work and play, broadly conceived. Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play:  

 

  • the work behind adapting into a different medium  
  • labor and cultural production  
  • authorship and adaptation  
  • the workplace as cultural intersection/metaphor in literature, film, and media  
  • production studies and below-the-line labor  
  • play in cultural production  
  • teaching adaptation and adapting teaching  
  • labor, social change, and adaptation  
  • adaptation as textual play  
  • gameplay as adaptation  
  • games as adaptations or adapting games  
  • play in analyzing and interpreting text  
  • plays as adaptations or adapting plays into a different medium  
  • performance as adaptation  

 

We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.  

Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass Media; Below the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy.  

Please submit your proposal via this Google Form by July 1, 2022. You will receive a confirmation email within 48 hours. If you have any questions or concerns, contact Pete Kunze atlitfilmconference@gmail.com. Accepted presenters will be notified by August 1, and the conference program will be available by August 15 to enable travel planning. We also anticipate a professionalization pre-conference event.

 

The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. The conference registration fee is $200 ($150 for students and retirees) before October 1, 2022 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction.  

 

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here.  

 
Call for Graduate Student Applicants: Media Aesthetics IV
 
2022 Summer Institute in Rhetoric and Public Culture 
Northwestern University, Evanston, IL 60208 
In Person 
July 18–22, 2022 
 
The deadline for applications is Thursday June 9, 2022 
 

Media Aesthetics IV:  

The annual Rhetoric and Public Culture Summer Institute at Northwestern University is scheduled to be held on July 18-22, 2021 (with arrival July 17 and departure July 23).  
 
Institute conveners are Dilip Gaonkar (Rhetoric and Public Culture, Northwestern University) and James J. Hodge (English, Northwestern University). 
 
This year’s theme is Media Aesthetics.      
                                 
What does it mean to study and to theorize media today? What does it mean to study aesthetic texts and experience in a global media ecology no longer dominated by the long-standing paradigmatic forms of the disciplines of art history, literary studies, and cinema studies (painting, the novel, film) but rather by a panoply of multimedia forms (video games, digital art, social media, sound media)? What are the key sites of inquiry and the best theoretical resources for thinking through the saturation of contemporary life, politics and culture by media technologies? The challenges facing critical investigations into these questions are legion and daunting: from climate change and intense social inequities to divisive politics and more. Keeping these larger contexts and issues in mind, the summer institute will host a week of lecture and discussion on the topic of “media aesthetics.” In choosing “media aesthetics,” we affirm that big questions may be addressed at the levels of individual and collective experience and, moreover, as questions of mediation specific to a vast and uneven field of aesthetic forms circulating in global networks. Further, this seminar affirms the role of artworks and aesthetic experience more broadly as key sites of encounter. For the past several decades if not since at least the 1960s aesthetic production in its institutional manifestations has become more varied, less medium specific, and perhaps more fruitfully approached in a comparative manner. One key development here concerns the increasing and uneven ways in which the boundaries between more institutionally-sanctioned forms of aesthetic production and more ordinary vernaculars of experience have come to be understood as permeable and newly articulated and entangled. Taking aesthetics in its Greek sense of aisthesis (perception or feeling), we affirm the significance of methodologies and approaches such as affect theory, queer theory, phenomenology, Black studies, and psychoanalysis over and above approaches valorizing technology as such. Taking note of many local interventions in theoretical approaches to media studies, however, the summer institute asks what affinities and commonalities these often-disconnected discourses share.  
 

Institute Format and Application Process 

The institute will consist of five days of presentations and discussions led by visiting scholars and Northwestern faculty. This year’s visiting scholars include: Ramon Amaro (University College London), Bishnu Ghosh (University of California, Santa Barbara), Jean Ma (Stanford University), Bhaskar Sarkar (University of California, Santa Barbara), and Aarthi Vadde (Duke University). 
 
The institute is sponsored by the Center for Global Culture and Communication (CGCC), an interdisciplinary initiative of Northwestern University’s School of Communication. The CGCC will subsidize transportation (up to $250), lodging (double-occupancy), and some meals (breakfast and lunch every day and two group dinners) for admitted students. 
 
Applicants should send a brief letter of nomination from their academic advisor, along with a one-page statement explaining their interest in participating in this year’s institute, to the summer institute coordinator Vidura Bahadur (ViduraBahadur2023@u.northwestern.edu)We will adopt a policy of rolling admissions. Priority will therefore be granted to strong applications that are submitted in a timely fashion, preferably by June 9, 2022. All inquiries should be directed to Vidura Bahadur. 
 
 
Faculty Bios: 
 

Ramon Amaro is Lecturer in Art and Visual Cultures of the Global South at University College London. His writing, research and practice emerge at the intersections of Black Study, psychopathology, digital culture, and the critique of computational reason. He draws on Frantz Fanon’s theory of sociogenic alienation to problematise the de-localisation of the Black psyché in contemporary computational systems, such as machine learning and artificial intelligence. Ramon’s research pulls away from notions of psychic negation, as set forth by the Fanonian model of representation, to investigate alternative modes of relation between race and technology. His ultimate aim is to develop new methodologies for the study of race and digital culture. Ramon is the author of The Black Technical Object: On Machine Learning and the Aspiration of Black Being (Sternberg/MIT Press, 2022). He is a founding member of the Queer Computing Consortium (QCC), which investigates the “languages” of computation in its role in shaping locally embedded community practices. 

Bishnupriya Ghosh is Professor of English and Global Studies at the University of California, Santa Barbara. She teaches environmental media and global postcolonial studies. Much of her early scholarly work interrogated the relations between the global and the postcolonial; area studies and transnational cultural studies; popular, mass, and elite cultures. While publishing essays on literary, cinematic, and visual culture in several collections and journals such asboundary 2, Journal of Postcolonial Studies, Public Culture and Screen, in her first two books, Ghosh focused on contemporary elite and popular cultures of globalization: When Borne Across: Literary Cosmopolitics in the Contemporary Indian Novel (Rutgers UP, 2004)  and Global Icons: Apertures to the Popular (Duke UP, 2011). In the last decade, Ghosh turned to risk distributions and their relationship to media. She has written several essays on the subject and has co-edited collection (with Bhaskar Sarkar), The Routledge Companion to Media and Risk (2020). She is working now on a monograph entitled The Virus Touch: Theorizing Epidemic Media, which considers how mediatic processes detect and compose epidemics as crises events.  
 
Jean Ma is Professor in the Department of Art and Art History and the Denning Family Director of the Stanford Arts Institute at Stanford University. She has published books on the temporal poetics of Chinese cinema (Melancholy Drift: Marking Time in Chinese Cinema), singing women on film (Sounding the Modern Woman: The Songstress in Chinese Cinema), and the relationship of cinema and photography (Still Moving: Between Cinema and Photography). She is the coeditor of “Music, Sound, and Media,” a book series at the University of California Press. Her writing has appeared in Camera Obscura, Criticism, Film Quarterly, Grey Room, Journal of Chinese Cinemas, and October. Her forthcoming book At the Edges of Sleep: Moving Images and Somnolent Spectators was the recipient of an Andy Warhol Foundation Arts Writer Book Grant.  
 
Bhaskar Sarkar is Professor of Film and Media Studies at the University of California, Santa Barbara. He is the author of Mourning the Nation: Indian Cinema in the Wake of Partition (Duke University Press, 2009). He has coedited the collections Documentary Testimonies: Global Archives of Suffering (Routledge, 2009), Asian Video Cultures: In the Penumbra of the Global(Duke University Press, 2017), and The Routledge Handbook of Media and Risk (Routledge, 2020). He has also coedited two journal special issues: Postcolonial Studies (2005), on “The Subaltern and the Popular”; and BioScope: South Asian Screen Studies (2012), on “Indian Documentary Studies.” At present, he is completing a monograph titled “Cosmoplastics: Bollywood’s Global Gesture.” He has also begun work on two additional monographs: one about piratical practices in the Global South, and another on queer underground club cultures in millennial Los Angeles. 
 
Aarthi Vadde is Associate Professor of English at Duke University. She works in the field of 20th-21st century Anglophone literature. She looks at how literary history interfaces with theories of internationalism, the history of computation, and media studies more generally. Her book Chimeras of Form: Modernist Internationalism beyond Europe, 1914-2016 was published by Columbia UP in 2016 and won the ACLA’s 2018 Harry Levin Prize for outstanding first book in the field of comparative literature. Her book in progress is called “We the Platform: Contemporary Literature after Web 2.0.” In it, she considers how technical and rhetorical shifts in the formulation of the World Wide Web (from network to platform) are shaping contemporary literary culture and popular literacy practices. In addition to her monograph projects, Vadde is co-editor of a volume on the history of literary criticism entitled The Critic as Amateur (Bloomsbury Academic 2019), an open-access cluster of essays entitled Web 2.0 and Literary Criticism (Post45), and the Palgrave Handbook of 20th and 21st Century Literature and Science.  She is the co-host of Novel Dialogue, a podcast about how novels are made and what to make of them. Scholarly articles have appeared in Comparative Literature, Modernism/Modernity, New Literary History, NOVEL, and PMLA amongst others. 
 
The Screen Cultures Graduate Student Association of Northwestern University invites our fellow graduate scholars to submit abstracts for this year’s Backward Glances conference with the theme of “Saturation,” which will be held in person, September 30-October 1. Our keynote speakers will be Professors Anna Kornbluh and Cáel Keegan. 
 
Proposals of no more than 300 words are due by June 15th. Please see our complete CFP below for more details.
 
———————————————————————————————
 
 
Backward Glances 2022: Saturation
The Screen Cultures Graduate Student Conference 
Department of Radio/Television/Film, Northwestern University
September 30th-October 1st, 2022, in person
Keynote Speakers: Professors Anna Kornbluh (University of Illinois Chicago) and Cáel Keegan (Grand Valley State University)
Submission Deadline: June 15, 2022
 
Backward Glances, Northwestern University’s biennial graduate student media and historiography conference, returns in 2022 to engage the concept of Saturation. Broadly defined as a particularly intense mediated experience or an inability to absorb additional material, saturation operates as a way of thinking about the excesses of representation in, and our encounters with, media both past and present. 
 
From the 24/7 news cycle, to Zoom, to Peak TV, to TikTok, we live in an age of total media saturation. Drawing on this sense of ‘media overload,’ this year’s conference  invokes saturation as a heuristic for theorizing and historicizing media past and present. How, for example, does the concept of saturation differently operate on aesthetic, narrative, and industrial levels? What does it mean when “no more can be added”? How does saturation as a property of the image “color” our encounters with media? And how might saturation help us understand  historical shifts in screen media cultures?
 
We invite inventive explorations of media that embrace both the qualitative and quantitative ambiguities at work in the concept of saturation. Presentations may engage the theme of saturation broadly construed, including topics such as, but certainly not limited to:
  • Opulence
  • Excess
  • Serialities
  • Performance
  • Framing and containment
  • Immersive media
  • Intensities of image
  • Ecologies
  • Realism
  • Late capitalism
  • Color technologies & race
  • Phenomenology
  • Sensory experience
 
We invite scholarship from across disciplines and methodologies, backward-, forward-, and present-facing. For consideration, please submit a document that includes paper title and a 300-word abstract to backwardglancesconference@gmail.com by June 15, 2022. In the body of the submission email, please include a 100-word bio including your name and institutional affiliation. Please send your abstract as an email attachment in .doc, .docx, or .pdf format and do not include any identifying information in the file containing your abstract. Participants will be notified by early July.
 
Anna Kornbluh, University of Illinois Chicago
Anna Kornbluh’s research and teaching interests center on Victorian literature and Critical Theory, with a special emphasis in formalism, Marxism, psychoanalysis, and theory of the novel.  She is the author of The Order of Forms: Realism, Formalism, and Social Space (University of Chicago 2019),  Marxist Film Theory and Fight Club (Bloomsbury “Film Theory in Practice” series, 2019), and Realizing Capital: Financial and Psychic Economies in Victorian Form (Fordham UP 2014).  Her current research concerns impersonality, objectivity, mediation, and abstraction as residual faculties of the literary in privatized urgent times.  She is the founding facilitator of two scholarly cooperatives: V21 Collective and InterCcECT.
 
Cáel Keegan, Grand Valley State University
Dr. Keegan is a cultural theorist of transgender/queer media and literature. He is primarily interested in the aesthetic forms transgender and queer people have created and how those forms shape our popular lifeworlds. He is the elected Secretary of the Queer Caucus of the Society for Cinema and Media Studies and has appeared on Michigan Radio and in the Vice Guide to Cinema’s episode on “New Trans Cinema.” Dr. Keegan teaches courses in queer, transgender, and feminist theories, popular and visual cultures, American studies, and LGBTQ cultures/identities/histories.
 
NOS-HS Workshop: “Cinema as space of encounters before, during and after WWII”

29-30 Sep. 2022, Kristiansand, Norway

For many people in the 20th century, going to the movies was not just a leisure activity, but a necessity. As embodiment of democratic mass culture, movie theatres offered information and entertainment to everybody, regardless of age, gender, class, ethnic or religious background, even though the cinema-going practices were socially distinct and fragmented. People went to the movies for multiple reasons: to be entertained, to learn what was going on in the world and in the community, to find consolation, reassurance, or encouragement, to connect socially or find privacy in the dark, to be noticed or to disappear in the crowd. 

The workshop “Cinema as space of encounters before, during and after WWII” is the first in the workshop series “Cinema, War and Citizenship at the Northern Periphery: Cinemas and their audiences in the Nordic countries, 1935–1950”. It asks how the Second World War altered the cinema-going experiences and the social functions of the movie theatre. The Nordic countries were affected very differently by the war. While Denmark and Norway were occupied by Nazi Germany, Iceland was first occupied by British and then by US forces. Finland fought alongside Nazi Germany and then against it, while Sweden remained officially neutral, but experienced a large influx of refugees from neighbouring countries. The movie theatre became a battleground between different factions of society. At the same time, the movie theatres became a space of cultural encounters with the enemy or the ally, both on screen and in the auditorium.

How did the war and occupation alter the cinema-going experiences and habits? How did it change the cinema landscape and social functions of cinema? Did the audience practices and cinemas revert to prewar conditions, or did the end of the war mark a rupture with the past and a transition to something new? What role did cinema play in the construction of the Nordic post-war societies which had experienced the war very differently? These are some of the questions we seek to address in the first workshop.

Workshop theme

In the workshop we want to discuss how different social groups and individuals experienced and used the cinema especially in the Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden) before, during and after WWII (1935-50). The focus is on the audiences and the cinema as space. Neglected aspects, such as rural cinema audiences, or the operation of mobile cinemas, are of particular interest.

Potential topics for presentations (but not limited to):

  • Cinema as social space of cultural encounters and conflicts
  • Local cinema-going habits before, during and after the war – breaks and continuities
  • Experiences and memories of cinema-going
  • Social composition of audiences
  • The cinema as physical site and its links to other venues
  • Developments of the cinema landscape
  • The operation and use of mobile cinemas
  • Methodology and the use of sources – problems and possibilities

The workshop is funded by the Nordic Research Councils in the Humanities and Social Sciences (NOS-HS) exploratory workshop grant. Its goal is to establish a transdisciplinary network of scholars and non-academic experts (e.g., archivists, librarians, museum educators, etc.) to foster and strengthen research on cinema history in the North. We encourage specifically early-career scholars and postgraduate students to apply. Our aim is to publish a selection of papers in a themed issue of Journal of Scandinavian CinemaHistorical Journal of Radio, Film and Television or Kosmorama.

 

Confirmed keynotes:

Prof. Daniela Treveri Gennari (Oxford Brookes University)

Dr. Mona Pedersen (Anno Museum Kongsvinger, Norway)

Dr. Jessica Whitehead (University of Toronto)

 

Application:

Please submit an abstract of up to 300 words, a short CV and list of publications to maria.fritsche@ntnu.no by 22 May 2022.

The number of participants will be limited to approx. 20 persons to allow for fruitful discussion and exchange. Accommodation in Kristiansand and meals will be provided, travel costs (economy flights and/or public transport) will be reimbursed. For any queries regarding a potential topic or the workshop, please contact Prof. Maria Fritsche (maria.fritsche@ntnu.no).

 

Deadline for abstract: 22 May 2022.

Letters of acceptance17 June 2022

Workshop date: 29–30 September 2022

 Venue: ARKIVET Peace and Human Rights Center, Vesterveien 4, 4616 Kristiansand, Norway

 

 

“The chaos of the mind cannot constitute a reply to the providence of the
universe. All it can be is an awakening in the night, where all that can be heard is
anguished poetry let loose. ”
— Georges Bataille, Literature and Evil

Greek Chaos (the gap between heaven and earth) births Gaia (earth) and Eros (sexual desire) which procreate to make other deities. Under the acceleration of modernity we encounter the relentless accumulation of knowledge without understanding or grounding. We sense our own bodies and feel the threat of chaos loom in the mass of ambivalent sensations that rise into our perception. We embrace chaos and its vicissitudes, asking to be demolished by its operations so we can be reborn – or die – anew.

For our inaugural graduate conference we invite you to think of chaos as a space of potential for re-shaping dominant modes of engaging with the world. How does art diffuse or activate chaos? In what ways do mythological formulations of chaos speak to our present moment? How does your artistic/scholarly work respond to, react against, or embrace chaos?

We are seeking traditional and non-traditional forms of presentation: Papers, screenings, performances, animation, workshops, theatre, puppetry, curatorial projects, sound work, poetry, DJA/J sets, light works, papers, live body horror, sculpture, relational aesthetics, stripteases, pataphysical contemplations, weddings, rituals, massages, parties, beckonings, radio plays, podcasts, found drama – as befits a conference on chaos, the options are limitless.

  • Geopolitics and the mapping of chaos
  • Quantum chaos and chaos in scientific fields
  • Gendered and affective dimensions of chaos
  • Competing cosmologies and mythologies of chaos
  • Ontologies of chaos, e.g. Mallarme’s Un coup de dés
  • Chaos magic, conspiracy, and the supernatural
  • Politics of chaos: anarchism and its lineages
  • Performances of chaos, e.g. John Cage
  • Phenomenologies of chaos: noise, pareidolia, madness

Submit proposals of up to 500 words to sccs.filmandmediagraduate@gmail.com by May 10, 2022. The conference will be in-person in Kingston, Ontario. Individual and collaborative proposals are welcome. You can include images and audio in your proposals, and please let us know your tech needs. If you require alternative submission formats, please let us know.

 

Call for Papers: Pleasures of Surveillance

Special Issue of Surveillance & Society
Edited by Drs. Stéfy McKnight (Carleton University) and Julia Chan
Submission deadline: August 1, 2022 for publication June 2023.

This special issue calls for scholarly and artistic contributions that theorize, identify, and investigate the relationships between surveillance and pleasure. Contributions will take up the critical and complex ways that surveillance and pleasure may entangle, where the product of this entanglement may be a source of empowerment, or a form of harm and control. Surveillance studies already provides some influential pleasure-related concepts, such as Hille Koskela’s important concept of “empowering exhibitionism,” John McGrath’s take on surveillance and performance, and David Bell’s reflection on sexual surveillance as a potentially cheeky form of resistance.[1] Borrowing from Angela Jones, we “define pleasure as infinitely different sets of gratifying social experiences. Pleasure is always subjective and contextual. Scholars must recognize that pleasure is a social experience, in which the body is caught up in what anthropologist Clifford Geertz calls ‘webs of significance’” (25).[2] As an experience rooted in the social, pleasure is therefore contingent and historically and culturally situated.

Surveillance is not just a specific event or structure; it is also a tool or technology, a methodology, a performance, logic, and a way of life or engaging with the world.[3] Surveillance is the process of collecting information and watching people, often with the goal of creating power dynamics that privilege the surveyor (Monahan & Murakami Wood, 2018, p. xx).[4] On one hand, considering pleasure may highlight forms of resistance and empowerment, such as in Black activist movements and 2SLBGTQIA+ resistance and radicalism.[5] According to adrienne maree brown, for example, “pleasure activism is the work we do to reclaim our whole, happy, and satisfiable selves from the impacts, delusions, and limitations of oppression and/or supremacy” (13).[6] On the other, considering pleasure in relation to surveillance may also implicate varying forms of unwanted control and oppression, such as in voyeuristic uses of cameras like “creepshots” or “revenge porn” (Koskela 2002; Chan 2018),[7] or critique the ways in which pleasurable surveillance is folded into consumerist and commodity culture (e.g., Pokémon GO!; reality television; market surveillance; wearables; advertisements; and surveillance-based beauty tools like camera blackhead vacuums).

To explore this complexity, this issue seeks to bring together a constellation of scholars and artists who have engaged creatively and scholarly with theories of corporeal or affective pleasure in conversation with surveillance as methodology, tool, practice, and culture. We welcome submissions from both Global South and Global North perspectives, as well as those that challenge colonial, imperial, and western perspectives on and theories of pleasure and/or surveillance. We are particularly interested in work that centres the experiences and perspectives of historically marginalized groups. Through gathering a diverse range of perspectives in this special issue, we seek to develop a more granular, complex, and refined understanding of pleasure in relation to surveillance.

Some of the questions that we hope this special issue will answer include: What are some of the different ways that surveillance and/as/of pleasure can be situated historically and culturally? How is surveillance and/as/of pleasure experienced, and for whom is it pleasurable? What are the risks and harms of surveillance and/as/of pleasure? How is pleasure circumscribed by intersecting experiences of the subject, such as race, gender, sexuality, ability, and class? Can the pleasures of surveillance be mobilized for collective or systemic change? We invite contributions that, within the context of surveillance, examine pleasure from different vantages, including but not limited to the following.

Surveillance and pleasure, such as:

  • Critical readings of pleasure that engage questions of surveillance ethics, control, power, and/or specific cultural and geopolitical perspectives
  • Non-western, post- and de-colonial perspectives on surveillance and pleasure
  • Historical perspectives on surveillance and pleasure
  • Developing methodologies for studying surveillance and pleasure (autoethnography; creative research)
  • The implications of pleasurable surveillant platforms and interpersonal relationships (such as using dating apps) within the context of platform capitalism
  • Critiques of pleasurable surveillance in utopias/dystopias/imaginary futures in science fiction literature, film, or art

Surveillance as pleasure, such as:

  • Experiences of historically marginalized communities who may use technologies of sur/sousveillance for empowerment, activism, and resistance
  • Surveillance as forms of pleasurable play (entertainment, social media, children’s “spy” toys) and the commodification of surveillant pleasures and spectacles
  • Pleasurable social surveillance, such as gossip or Facebook neighbourhood groups, and their racial, gendered, or classed implications
  • The pleasures of online conspiracy theories and the political subject

     

Surveillance of pleasure, such as:

  • Policing pleasure and/or the criminalization of sexualities, drug use, or sex work
  • Neoliberal forms of self-surveillance, such as habit tracking and productivity tracking
  • The politics of surveilling sexual pleasure, such as voyeurism, teledildonics, or camming
  • Issues of pleasure in law and policy (sexual consent law; surveillance of online black-market activities)
  • Unwanted or abusive sexual surveillance, such as image-based sexual abuse (e.g. “revenge porn” or hidden camera)

Submission Information:

We welcome full academic papers, opinion pieces, review pieces, poetry and creative writing, artistic work, and audiovisual work. Submissions will undergo a peer-review and revision process prior to publication. Submissions should be original work, neither previously published nor under consideration for publication elsewhere. All references to previous work by contributors should be masked in the text (e.g., “Author, 2015”).

All papers must be submitted through the online submission system no later than August 1, 2022 for publication June 2023.

Please submit the papers in a MS Word-compatible format. For further submission guidelines, please see: https://ojs.library.queensu.ca/index.php/surveillance-and-society/about/submissions#authorguidelines

For all inquiries regarding the issue, please contact the editors: Julia Chan <julia.chan@protonmail.com> and Stéfy McKnight <stefy.mcknight@carleton.ca>.

The Editors

Stéphanie McKnight (STÉFY) is a queer femme of centre white settler artist-scholar based in Katarokwi/Kingston Ontario, and Assistant Professor at Carleton University in the School of Journalism and Communication. Their creative practice and research focus are policy, activism, governance, and surveillance trends in Canada and North America. Within their research, they explore creative research as methodology, and the ways that events and objects produce knowledge and activate their audience. Stéfy’s creative work takes several forms, such as installation, performance, site-specific, online and technological curatorial projects, new media and experimental photography. In 2018, their work Hunting for Prey received an honorable mention for the inaugural Surveillance and Society Art Fund Prize.

Julia Chan is a mixed-race settler, writer, artist, and academic living in Tkaronto/Toronto. Recently, she was a Mitacs Postdoctoral Visitor in Cinema and Media Arts at York University, the Managing Editor of PUBLIC: Art | Culture | Ideas, and the inaugural Postdoctoral Fellow at Carleton University’s Institute of Criminology and Criminal Justice. She holds a PhD in Cultural Studies from Queen’s University at Kingston. Her doctoral research explored the connections between image-based sexual abuse, racialized gender, surveillance, and cinematic/visual cultures. Her academic work has appeared in Porn Studies and is forthcoming in the edited collection Screening #MeToo: Rape Culture in Hollywood (SUNY Press). Her fiction has appeared in Joyland, subTerrain, Cosmonauts Avenue, and others and has been supported by the Canada Council for the Arts and the Toronto Arts Council. Her photography and video work have been exhibited at the Tett Centre and Queen’s University.

[1] Bell, David. “Surveillance is Sexy.” Surveillance & Society, vol. 6, no. 3, 2009, pp. 203-212. Koskela, Hille. “Webcams, TV Shows, and Mobile Phones: Empowering Exhibitionism.” Surveillance & Society, vol. 2, no. 2/3, 2004, pp. 199-215.
McGrath, John. Loving Big Brother: Performance, Privacy and Surveillance Space. Routledge, 2004.

[2] Jones, Angela. Camming: Money, Power, and Pleasure in the Sex Work Industry. NYU Press, 2020.page3image45912768

[3] Finn, Jonathan. “Seeing Surveillantly: Surveillance as Social Practice.” Eyes Everywhere, edited by Aaron Doyle, Randy Lippert and David Lyon. Routledge, 2011.
Lyon, David. The Culture of Surveillance: Watching as a Way of Life. Polity, 2018.
McGrath, John. Loving Big Brother: Performance, Privacy and Surveillance Space. Routledge, 2004.
McKnight, Stéphanie. “Creative Research Methodologies for Surveillance Studies”, Surveillance & Society, 2020, vol. 18, no. 1, pp. 148-56.
Slack, Jennifer and J. Magregor Wise. Culture and Technology: A Primer. Peter Lang, 2014.

[4] Monahan, Torin and David Murakami Wood. “Introduction: Surveillance Studies as a Transdisciplinary Endeavor.” Surveillance Studies: A Reader, edited by Torin Monahan and David Murakami Wood. Oxford University Press, 2018.

[5] brown, adrienne m. Pleasure Activism: The Politics of Feeling Good. AK Press, 2019. Frischherz, Michaela. “Finding Pleasure in the Pandemic: Or, Confronting COVID-19 Anxiety through Queer Feminist Pleasure Politics.” QED (East Lansing, Mich.), vol. 7, no. 3, 2020, pp. 179–84.
Harris, Laura Alexandra. “Queer Black Feminism: The Pleasure Principle.” Feminist Review, 1996, vol. 54, no. 1, pp. 3-30.
Taormino, Tristan et al. “The Politics of Producing Pleasure.” The Feminist Porn Book: The Politics of Producing Pleasure, edited by Tristan Taorimino et al. Feminist Press at the City University of New York, 2013, pp. 9-20.
Vasiliou, Elena. “Penitentiary Pleasures: Queer Understandings of Prison Paradoxes.” Criminology & Criminal Justice, 2020, vol. 20, no. 5, pp. 577-89.

[6] brown, adrienne m. Pleasure Activism: The Politics of Feeling Good. AK Press, 2019.

[7] Chan, Julia. “Violence or Pleasure? Surveillance and the (Non-)Consensual Upskirt.” Porn Studies, vol. 5, no. 3, July 2018, pp. 351–55.
Koskela, Hille. “Video Surveillance, Gender, and the Safety of Public Urban Space: ‘Peeping Tom’ Goes High Tech?” Urban Geography, vol. 23, no. 3, 2002, pp. 257–78.

 

FSAC Student Writing Award – ACÉC Prix de l’essai étudiant

 

Visions of Change: A CMF Graduate Student Conference
https://news.ucalgary.ca/news/visions-change-cmf-graduate-student-conference 

 

May 10 – May 11 2022, 11:30 am to 3:30 pm

Online via Zoom 

(Potential in-person social events on May 11) *

This year’s CMF Graduate Student Conference theme is Visions of Change. We chose this theme to focus on research that is forward-looking and evokes new perspectives. In light of the struggles we have faced globally and within our own communities in the past two years, we believe that it is more imperative than ever to spotlight critical, creative, and hopeful scholarship.

  • What do we mean by ‘vision’?

We chose the word vision to represent our desire to envision a brighter future ahead in our society and in scholarship, through inspiring, insightful, and innovative research.

  • Why ‘change’?

If the past two years of this pandemic have taught us anything, it is recognizing the importance of ongoing transformations in communication, media, technology, and culture in our everyday lives. We are eager to showcase work that critically reflects on the changes we have experienced as a society, and that is ingrained with revolutionary hope, positivity, and inclusivity.

CALL FOR PAPERS

This is a call for papers for the Visions of Change conference. Please submit your proposal here by the proposal submission deadline on March 31, 2022

Below are some examples of topics you may wish to present on for this year’s Visions of Changeconference:

  • Media and activism (anti-racism, feminism, anticolonialism, etc.)
  • Representations and power in media
  • Popular culture in the media, and media identities (influencers, etc.)
  • New media industries (social media platforms, etc.)
  • Cinema, documentary, photography, and sound as mediums of change
  • Algorithmic media
  • Digital citizenship 
  • The digital divide and inequities to access
  • Censorship and other challenges to journalism and reporting

These are only some topics you may wish to address during the conference this year; proposal submissions that fall under the umbrella of this year’s theme are encouraged even if they do not directly address one of the topics listed.

The Visions of Change conference welcomes any proposal submissions for the following presentation formats:

  • Short talks (200-word abstract): A shorter presentation, lasting 5 minutes in duration. An ideal option for a presenter that desires to share and discuss an idea or research-in-progress work that may not be fully developed or completed. First-time presenters, senior undergraduate students and MA students are all encouraged to apply.
  • Long talks (300-word abstract): A longer presentation, lasting 10-15 minutes in duration. An ideal option for a presenter seeking to share and discuss a more developed analysis on a research topic of their choosing.
  • We also welcome proposals for alternative formats. Proposal submissions should include a short description of the desired format and time allotment (minimum 5 minutes and maximum 20 minutes) in addition to the accompanying 200-word proposal/abstract. While it is not guaranteed, we will try our best to accommodate an alternative format.

Please, note that time will be set aside for a Q&A session after the presentation(s).

While writing your proposal, all applicants are asked to consider an equity, diversity, and inclusivity (EDI) framework in their submission. Please ensure that you have completed the EDI pledge in your proposal form. More information regarding the EDI framework can be found on the webpage for the University of Calgary’s Office of Equity, Diversity, and Inclusion here

If you have any questions about this CFP, please reach out to Berenice Cancino (berenice.cancino@ucalgary.ca) or Xenia Reloba de la Cruz (xenia.relobadelacruz@ucalgary.ca).

Thank you and we look forward to your submissions!

*This conference will be held online (via Zoom) out of an abundance of caution because of the evolving and uncertain circumstances surrounding the COVID-19 pandemic and its impact on public health restrictions and the safety of potential participants in the city of Calgary. The feasibility of organizing optional in-person social events as part of the CMF Graduate Student Conference will be determined at a later date and will be conveyed to conference participants.

 
Moving/Pictures
Program in Film and Media Studies at the University of Pittsburgh
Keynote Speaker: Haidee Wasson of Concordia University
Date: September 23-24

 

The University of Pittsburgh Film and Media Studies Program is pleased to announce “Moving/Pictures,” its eleventh Annual Graduate Student Conference.

Conventional historiographical and theoretical assumptions in film history and media archaeology have often belied the stability of their apparatuses, objects, and spaces of reception. Yet even in the “classical” period, scholars have unearthed a fluid moving image ecology that has been easy for us to overlook in favor of a supposedly canonical and rigid exhibition/apparatus structure. Along with Charles Acland, Ariel Rogers, Alison Griffiths, and others, Haidee Wasson has worked in the past decade to turn the field’s attention to film and media’s longstanding formal, cultural, and technological history in classrooms, museums, prisons, planetariums, shopping centers, airplanes, trains, and elsewhere. This turn has encouraged us to consider the cinema theater as but one site in a panoply of historically contingent spaces of media encounter.

Rather than treating the proliferation of moving image media in diffuse and dispersed spaces as a contemporary phenomenon abetted by the digital, Moving/Pictures encounters the cinematic as a media ontology permanent only in its flux. Seeking scholarship on exhibition practices, portability, technology, reception, transportation, architecture, and the general relationship of media to its locations and spaces, the conference calls on participants who take seriously the transience of film and media. The transience of media across borders takes on new forms and shapes, forcing us to contend with even more global multiplicities of moving image contexts. In the dialectic between the stability of the “picture” and the unfixedness of “moving,” this conference seeks a productive scholarly tension.

  • Exhibition Histories
  • Theories and Spaces of Reception
  • “Useful Cinema”
  • Nontheatrical Cinema
  • Television and New Media outside the home
  • Stereoscopy and the Sensorium
  • Urban/Rural Geography
  • Distribution Networks
  • Film Promotion/Exhibitional Decoration
  • Travelling Cinemas
  • Cinema and the Body
  • Haptics and Movement
  • Museums, Film and Musealization 
  • Avant Garde and Video Art Practices and Spaces
  • Borders and Transience
  • International Media Flows
  • Global Exhibition Networks
  • The Museum as a Cinematic Space
  • Film Curatorship
  • Portable film and media technologies
  • Paratexts and Paratextual Film Cultures
  • Guerilla and Underground Cinema

Interested graduate students should submit abstracts (maximum 300 words) – along with biographies (maximum 100 words), institutional/departmental affiliations, and current email – to pittfilmgradconference@gmail.com by June 15th, 2022. For more information, please contact the Pitt Film and Media Studies Graduate Student organization at the above email.

Accessibility arrangements: The Conference has traditionally been an in-person event, giving participants the opportunity to connect with their peers. However, academic travel presented a challenge to graduate students of all abilities well before the COVID-19 related restrictions emerged. Considering the steady improvement of COVID-conditions in the USA, we are planning the conference as an in-person event with some papers delivered through synchronous Zoom presentations. Successful applicants will be encouraged to visit the University of Pittsburgh and give their papers in-person, but we hope to accommodate a number of remote speakers through this format.